Tremendous Bass Tone - How To Mix A Bass Guitar

[Mr Clean]

And learning the bass tabs and re-tracking it, would require less work and time than ust... double clicking?

Yeah, never mind performance and feel, just double click it. That about sums up the music industry right now.

Enjoy

 

[Mr Clean]

Yeah remember the majority of people in home recording situations don't own fancy, expensive, plugins like melodyne.

 

[Paschalis I.]

Yeah, never mind performance and feel, just double click it. That about sums up the music industry right now.

Enjoy

You do know that we are talking about a song that you are just mixing it and actually NOT composing it right?
When you said in your previous message that you would re-track it, you meant that you would play the same exact thing but with better gear right?

I don't think you would change the bass line without the band player knows it...

Yeah remember the majority of people in home recording situations don't own fancy, expensive, plugins like melodyne.

Melodyne costs less than $300, owning a professional sounding and in-tune bass with perfect new strings in order to re-track the bass line as you mentioned costs more
than $1.000...

I am not sure where you're getting at my friend... Either I am an idiot or you make no sense.

 

[jimmys69]

I am just going to stay out of this conversation for now. TTYL.

 

[Paschalis I.]

I am just going to stay out of this conversation for now. TTYL.

See ya man take care!

 

[Dogbreath]

One more thing you can try except the bass tuning and the normal vocal tuning, you can easily copy-paste the notes and create vocal layers by moving the octaves up and down.
That is when you can't do it the old-school way, of course.

Just food for thought

sounds a lot easier than "my" old skool way...

which is re-tune my bass or guitar etc... to the harmony or octave and track it again.

Jeez Dogbreath, what are you thinking? Damn heretic!

So does that /\/\ makes me more of a heretic?
Or maybe just obsessive?

 

[Dogbreath]

And WHAT THE HELL IS TTYL!

 

[jimmys69]

And WHAT THE HELL IS TTYL!

Talk To Ya Later. lol!

I just don't wish to get into the conversation of what is a 'tool' to better a performance and what is faking one.

I myself spend most of my time in my studio 'tooling' a performance by others to make it all that it can be. When I have time I play/record myself.

I will not argue what is best or tell anyone what the right way is. Well, I will give advice to musicians in my studio but that does not change the fact that I am given what they have. I am not about to play someones track for them nor buy them decent gear (well, both have happened actually because I mostly record my friends...). They pay to get the best they can and that is my goal/job to do whatever I can to get that as close as possible.

That does not make it right or wrong. Just what it is.

 

[miroslav]

This an article that I posted to my website.
Instead of giving just a link I thought it's better to copy paste it here.

If a moderator consider this as spam please let me know the way to share the knowledge,
cause I am not selling anything but every lesson of mine is 100% Free

Enjoy!

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Hello my fellow readers, in this tutorial I'll teach you how to mix a bass guitar and shape it to the needs of your mix.


Since bass is an instrument that can handle lots of processing, we are able to use heavy compression, multiple layers, different ampsims for some grit, even Melodyne for fine tuning plus lots of other cool stuff to create a fantastic bass tone and make others wonder how you get that kind of bass sound.


Let's get started, shall we?




Source... Source... Source...
Since this is a mixing tutorial I am assuming that you've recorded a decent bass sound, but if not, let me share a couple of quick tips before diving into the really heavy processing tips.


The Bass DI (Direct Input signal) is the signal that you get right away from the bass guitar itself, Bass Guitar -> Audio Interface. No amps, No pedals, No cabinets.

Connecting mics with XLR cables and guitars with TRS cables.


Try to get a nice clean and balanced sound out of your Bass Di. Avoid a muddy sound by buying new fresh strings or, if money is an issue, use a MIDI program that can play bass.


It is not a shame to use software, especially for your bass tone, which is one of the hardest things to get a great source sound from, if money is an issue.


You' ll need to invest $1.000 minimum to get a bass guitar that will give you a professional DI sound... Let's not forget that each bass guitar works differently for each genre so it's not easy to afford a different bass guitar for each genre!


That's why a bass VSTi (Virtual Studio Technology instrument) can really save you tons of money plus give you fantastic DI sounds with lots of bass guitars to choose from.


Here's a couple of some of my favourite bass programs that I've used in many of my productions:

• Spectrasonics Trilian - Bass Module Software (my No1 Choice so far)
• EWQL - Hardcore Bass
• Prominy SR5 Rock Bass

Recording: DI Signal, Amp or Pedal?
Truth is that you will use all of the 3 channels but if I highly suggest to record DIRECTLY to your Audio Interface. Why is that so crucial?


The DI signal (Direct Input) is the "mother" of the signals, the cleanest, most balanced signal and the best to play with: You can easily re-amp the signal, using software and get all the harmonic distortion you need in no time.


But, what happens if you want to record the bass amp using a mic and ditch the DI signal completely?




The Importance of the DI Signal
Let's say that you want to record your amp using a mic. You've set up your mics, recorded everything and now it's time to mix!


The low end of the amp/pedal will make your life hard. Period.


The bass frequencies that your amp/pedal produced are not mix friendly. While the sound rocks in your room, it would be hell to mix your bass guitar and co-operate with the rest of the mix.


The DI signal has the cleanest, most powerful and mix-friendly low end. The low end that your amp produces creates more drawbacks than benefits.


That's why we will use the low end of the DI signal along with the grit of an amp using multiple tracks/layers and EQ.




I Don't Want To Use A Digital Amp But A Real Amp... What To Do
It's really simple. You can record your amp/pedal signal AND your DI signal simultaneously.


You just need one of these: Radial JDI.





It's a pedal that can help you record the signal of your favorite amp along with the DI signal.
The process is really simple:

1. It splits the signal into 2 signals.
2. You create 2 tracks in your DAW. For example: DI bass, Amp Bass.
3. Send each signal to its corresponding track.
4. Ready to record - 2 birds with 1 stone!

Layering: Using Multiple Tracks
The bass guitar is a tricky instrument to play with and it takes lots of process to make it sit in the mix.


That's why I love to separate it to at least 2 tracks. The DI track and the amp/grit/distortion track.

• DI Track: This tracks plays the role of the low end of the mix. I remove all the mid-high frequencies and keep just the low ones using a low pass filter. (More details below.)
• Grit Track: This is the track that keeps the mid-highs of your bass tone. I use an bass amp or a pedal (digital or analog doesn't matter as long as it sounds good) to get all the harmonic distortion I want. I remove everything under 250Hz, but we'll talk about mixing later in this guide.

To sum up: The DI signal will get all the lows and anything with an amp or pedal on it will keep just the mid-highs of the frequency spectrum.

Split bass to 2 tracks and send them to 1 Bass Group.




It's... Mixing Time!
I know I know, that's the part with the most fun and it took too long to talk about, but trust me without the above information it wouldn't be fun... at all.


Let's get started!

1. Split your bass signal into 2 tracks. Name one track "Bass Low" and the other "Bass Grit", you get the idea.
2. Send these tracks to a group track. Name it "Bass Group" or just "Bass".
3. Use a filter and remove the mid-highs on your "Bass Low" track. Keep only the lows up to 250Hz or so, use your ears.
4. Use an amp, amp sim, pedal or pedal simulator to your grit track and generate harmonics with grit/distortion.
5. Use high and low filters to remove all the frequencies to your grit track, except the 250Hz to 5Khz (or less) region.

For now, ignore everything else and just play with the faders. No need to play with compression and other stuff here.


Just play with the volume of these 2 tracks and stop wherever it sounds right to you.




Mixing Time... Part 2! - Processing The Bass Group
Now that we've created the basic tone of our bass, it's time to really go to town with our bass group.


We will not use any other plugins on the separate channels, cause these 2 channels actually form one instrument so we'll have to treat it as one instrument too.


So use your plugins to your Bass Group.


Use a high pass filter and remove some low end around 50Hz - 60Hz. I know what you're thinking, removing bass from bass?? Trust me these frequencies are so low that do not serve anything useful, it's just low end mud. Plus, with all the processing that we'll do now the lows will creep back up to us.


Use a limiter gently to remove some really aggressive peaks. The compressors that we'll use next will work easier and in a more effective way by doing so.


Use a Waves 1176 compressor or if you don't own one, just use a FET compressor of your liking.





If you can't afford the 1176 model from Waves just download for Free the 1176 model from Antress. It really rocks and it's free.

Settings: Aim for heavy reduction from -5GR to -10GR, 4:1 or 8:1 Ratio, quick Attack around 3 to 10ms and Fast Release.


Now use an another compressor. Still have some sudden peaks? Use a hard compressor. Need some gentle compression to even out the dynamics? Use something more gentle like the Waves CLA2a.





If you can't afford it, here's a free LA2A clone for you by the Antress team.




Time For Some EQ
Remove some mud by cutting some db in the 250 to 500Hz area with a wide Q.


Cut around 50Hz to 80Hz so your kick drum can cut through.


Remove some low end mud by cutting around 150Hz to 250Hz.


Now aim to reduce the "cardbox" sound. Cut some db with a wide Q to the 500Hz - 1.000Hz region.




Give Me More... Tightness!
You really think that after all this heavy compression your bass frequencies are tight enough, right?


No they are not and frequencies under 250Hz need to "sit in the pocket" giving us the freedom to add all the instruments we need in a busy metal/rock/hip-hop or even an epic-metal production.


For this exact reason, our last step (I promise IT IS the last step) we'll use a couple more plugins.




Multiband Compression
The best way to make sure that our low end acts like a "good boy" and doesn't interfere too much with our dynamics is to add a Multi-band Compressor.


I love using the C4 Multiband Compression by Waves but you can use this Free multiband compressor too.

We'll use 2 bands:

• Band 1: The first band will aim at the 0Hz to ~80hz region. That is to make sure that our sub lows are absolutely tight.
• Band 2: The second band will aim at the ~80Hz up to 250Hz region.

Now compress the 2 bands and make them tighter.


With all this Gain Reduction you'll feel (and hear) that your bands are noticeably tighter but also lower in volume.


Make up for it by using the Make-Up Gain of your multiband compressor, bypass the plugin, listen to the before/after effect and match the volume.




Our Final Limiter
Now that you are finished with your multiband compressor, add a final L1 Limiter or just Download the fantastic and free Gclip Limiter.

Do not exceed more than -3 to -4db here. But if you do, chances are that you haven't compressed enough to your compressors that you've added earlier in your chain.


So please go back, compress more and then come back to your Limiter.




Some Really Cool Tricks For A Professional Sound
In this chapter I'll give you 3 more tips that will make your bass tone shine.


These are the tips I use daily and I really can't live without them from the day that I've given them a try.


They saved me lots of hours editing, made my life easier and they'll make yours too.




Melodyne
Yes, you got that right. Melodyne!


Melodyne is mainly used for vocals but you won't believe what it can do to your bass.


Let's say that a client sent you to mix his song, but he recorded his bass without even tuning it properly. You won't be able to get a decent low end with that kind of bass tone.


And since bass is mostly a monophonic instrument Melodyne can do wonders on it.


You just open Melodyne, lock the notes by double clicking them and you have a perfectly in-tune bass, how's that sound?







Waves Bass Rider
Since bass needs lots of compression, we sacrifice some of its life and punch due to it.


Wouldn't be perfect if we could automate the volume of each note just by using our volume fader? This way, the signal that we would feed to the compressors would be already "manually compressed" since the volume would be evened out by our own hands.


This would result in less errant peaks, thus making the compressors give us what we want with less moves.


Well, we could automate the volume by hand, but this would take days or even weeks to complete... But there's a solution and it's called Waves Bass Rider.





This thing draws automation curves all by itself.


It saves you an enormous amount of time plus helping you focus on other stuff (like composing music heh!) instead of drawing Automation curves by hand.


I highly suggest you to give it a go, you'll love it!




Reverb
Reverb on the bass alone will destroy it. No reverb is good on the low frequencies.


For this reason you can can create an Aux Track and add a Reverb there. Then send your bass via your fx return.


Then add an EQ and remove all the low frequencies. You'll end up with a wider bass, but don't overdo it though.


To sum up: Just use verb on the mids and highs of your bass.

Monitoring The Signal Chain
As you can see, the bass guitar is really the No1 instrument that you can really go to town and still accept all of your crazy tweaks.


Since you'll use lots of compression don't be afraid to go back to your signal chain and be more drastic.


Let me explain...


For example, if you'd started with a cut of -7db at 70Hz and then have added a compressor, you might need to go back and cut 4db more resulting in a -11db cut.


It wasn't your fault, your judgement for a -7db cut was great, it's just that the compressor that you've added after the EQ emphasized your previous cuts and worked against you, so go back and be more drastic on your EQ.


Same things applies to the compressors. If your 2nd compressor works too hard you might need to go back to your 1st one, make it compress harder and then adjust your 2nd one.


It's everything about balance.




Conclusion
Yeap that's over 2.000 words, but I really wanted to cover anything - okay almost anything - about bass and help you improve your bass tones.


Thank you for following me on this post, I know it seems "too much" at first, but it's really nothing if you mix through it step by step.


I guess it's time for me to take a break and listen to some Deftones!


If you'd like to "thank" me for this post, I would really appreciate it if you could give it a like, follow, google plus it, you know all the good social media stuff!


You can also share your thoughts with me in the comment section below.


Take care guys.

I guess the plug-bass-into-DI-and-hit-record....is just not enough anymore.




To be honest....I do apply a touch of EQ now and then, and I have recently been playing around with the Waves Renaissance Bass plug, and it does have some nice options and may find itself on some of my bass tracks.
It like instantly does with one plug, what you might otherwise do with 5-6 plugs.

But hey.....in the end, if you found something that works, then it's the right choice for you, no matter how odd it may seem to anyone else.

 

[Paschalis I.]

Yeah that's a lot of plugins hehe

But I am trying to help people with home studios meaning that it will be easier for them to use plugins
rather than analog equipment which are really expensive.

I prefer analog stuff to tell you the truth... But plugins never cease to amaze me

 

[PDP]

Tuning can be quite complex, (intonation) is really a compromise.

There are several different ways to tune, here are some examples: https://www.youtube.com/watch?v=cSN0-W7NT7Y

 

[Mr Clean]

You do know that we are talking about a song that you are just mixing it and actually NOT composing it right?

OK then maybe you should change the beginning of your post as you talk about DI'ing your/our bass and getting as clean a sound as possible before applying all the processing you mention below, ergo, insinuating that you're/we're indeed performing/composing/recording the piece. There's no mention of not being able to retrack for whatever reason and get it right at the source because files have been sent to you/us or you/we are mixing someone else's work.

The general advice around these parts is fix it at the source, not in the mix.

When you said in your previous message that you would re-track it, you meant that you would play the same exact thing but with better gear right?

I don't think you would change the bass line without the band player knows it...

As above and also remember, the majority of people around here record themselves. Yes there are a few with studios that work with other people, bands and mix songs with files sent to them, but they are the minority.

Melodyne costs less than $300, owning a professional sounding and in-tune bass with perfect new strings in order to re-track the bass line as you mentioned costs more
than $1.000...

The 'professional sound' of a bass guitar is a matter of opinion but I don't personally believe you need a really expensive instrument to get a very good, professional sounding, tone. Not one of my 4 bass guitars cost more than Melodyne.(Well maybe my Hofner, but that's still a cheaper model) They are all more than adequately set up, intonated and in tune. (Set up by myself I'll add, it's easy to learn how and doesn't take long to do.)

I am not sure where you're getting at my friend... Either I am an idiot or you make no sense.

I don't know if I had a point originally but I guess I'm saying that it seems like a lot of fannying about to get a good sound. Each to their own. If you'd posted examples of different styles of songs with and without your processing, then I probably would never of even posted.

I guess I'm old skool. Get a good sound and capture it. If something was that bad that it needed digitally re-tuning, I would personally delete it and start again. Like most home recording artists, I don't have the disposable cash to throw out on programs like Melodyne to tune an instrument, especially when you can sort that out at the source, for free.

Also, will all that fx processing you describe work for any bass with any given tone? Will say, what works for a Fender Precision with Round-wounds with a mid to high tone range do the same as a Hofner with Tape-wounds with a really deep tone? Is there such a thing as a one fix for all?

So again, I'm not bashing your post, I just don't believe everything I read or a one size fits all format. I also certainly don't believe in autotune programs. Hell, I can't sing for shit but I'd still never use an autotune.

You did ask for thoughts in the comments, I gave mine.

 

[DM60]

So again, I'm not bashing your post, I just don't believe everything I read or a one size fits all format. I also certainly don't believe in autotune programs. Hell, I can't sing for shit but I'd still never use an autotune.

I have no problem using all of this technology, effects, sound manipulation, but I refuse to use an Autotune as well. I really couldn't explain it, just seems like there are boundaries I won't go past and that is one area that just seems wrong. Maybe a new thread.

 

[rayc]

I have to stand by Mr Clean on many levels.
I think there are some interesting ideas in the OP but also some utter rubbish - the minimum amount spent on the instrument and some of the initial stuff is flawed and merely opinion. Spanking new strings - complete rubbish. These things may suit the poster but not everyone is after 80's clank & rattle. No mention of round, half round or flat either.
All the processing will create processed bass. To my ears & taste what's needed is achievable without using up all the available processor energy on VSTs. As if the basic premise wasn't flawed enough the suggestion that synth/keyboard bass or autotune are good options is Anathema to me.
However, I'm prepared to LISTEN to a raw & (hyper) processed bass line in & out of a mix before jihad.

 

[DM60]

All the processing will create processed bass what's needed is achievable without using up all the available processor energy on VSTs- and as if the basic premise wasn't flawed enough the suggestion that synth/keyboard bass or autotune are good options is Anathema to me.

I've read many places where suggesting synth underpin the Bass. Sometimes I may use it, but it really depends on the song. But this is being taught out there on the Interweb by a lot of people.

 

[Paschalis I.]

I've made your posts blue so you can read the post easier

----------------------------------------

1) "OK then maybe you should change the beginning of your post as you talk about DI'ing your/our bass and getting as clean a sound as possible before applying all the processing you mention below, ergo, insinuating that you're/we're indeed performing/composing/recording the piece. There's no mention of not being able to retrack for whatever reason and get it right at the source because files have been sent to you/us or you/we are mixing someone else's work.

The general advice around these parts is fix it at the source, not in the mix."

The first chapter of this guide is called:

"Source... Source... Source...
Since this is a mixing tutorial I am assuming that you've recorded a decent bass sound, but if not, let me share a couple of quick tips before diving into the really heavy processing tips."

Also:

"Let’s say that a client sent you to mix his song, but he recorded his bass without even tuning it properly. You won’t be able to get a decent low end with that kind of bass tone."

I asked you if you had taken the time to read the article, but I guess you got mad with all of my anti old-school software that you had to type something quick.

Why should I mention to my readers to re-record the track on a tutorial based on mixing?

It's perfectly logical to record something again if it comes shitty, but even if it's not , this was an article for my readers-subscribers which are bored
to read on every article of mine the sentence "fix it in the source!". I guess you aren't a reader of mine.

Also for the readers that have not read my previous articles I've mentioned the importance of a good DI tone and if they can't afford
a real bass guitar then they should go for software, cause they' ll get a much better bass tone with the same money, plus getting lots of bass DI tones instead of one. Doesn't that count as me mentioning the importance of the SOURCE signal?

The fact that you dislike bass software doesn't change the fact that with under $300 you can get fantastic bass DI tones and not only one bass tone.

I perfectly agree that you lose the whole magic of playing the bass guitar but my blog aims at getting the best possible sound with any means
and it doesn't aim at "how to compose fantastic songs" or "how to be the most expressive bass player ever"

2) As above and also remember, the majority of people around here record themselves. Yes there are a few with studios that work with other people, bands and mix songs with files sent to them, but they are the minority.

You really don't believe this, do you.... We live on 2014 where most bands work via the Internet. Your statement above shows how correct I am for your old-school love..
If you mix music for other people and believe that the bands that send files are the minority then you 're leaving lots of money on the table. Most bands record through a $200 sound card
so they can have all their free time to record as long as they need without a studio charging for them. Then they find a fixed price of an online mixing service and send the files there.
That's of course for the bands that do not have the money to make their music known cause of financial issues and unfortunately there are lots of them.


3) The 'professional sound' of a bass guitar is a matter of opinion but I don't personally believe you need a really expensive instrument to get a very good, professional sounding, tone. Not one of my 4 bass guitars cost more than Melodyne.(Well maybe my Hofner, but that's still a cheaper model) They are all more than adequately set up, intonated and in tune. (Set up by myself I'll add, it's easy to learn how and doesn't take long to do.)

On all of the instruments the source is the most crucial thing, it shapes around the 80% of the final sound. Talking about bass that the DI signal shapes the 90% of the final sound and the sound that can be generated from it - being an AMP signal or a pedal signal. These 2 generated signals shape their sound by using the DI. If you feed them a mediocre DI (with shitty strings or a shitty body wood) you'll get mediocre amp and pedal sound as well.

Well, that's my personal opinion and we disagree in this one but I fully respect your opinion about this one

4) I don't know if I had a point originally but I guess I'm saying that it seems like a lot of fannying about to get a good sound. Each to their own. If you'd posted examples of different styles of songs with and without your processing, then I probably would never of even posted.

I guess I'm old skool. Get a good sound and capture it. If something was that bad that it needed digitally re-tuning, I would personally delete it and start again. Like most home recording artists, I don't have the disposable cash to throw out on programs like Melodyne to tune an instrument, especially when you can sort that out at the source, for free.

Same thing as your 1st question, check out the answer above in the first question I've never said the opposite

5) Also, will all that fx processing you describe work for any bass with any given tone? Will say, what works for a Fender Precision with Round-wounds with a mid to high tone range do the same as a Hofner with Tape-wounds with a really deep tone? Is there such a thing as a one fix for all?

If we are talking about Melodyne yes. It doesn't care about how dark, deep, shitty or fantastic tone we've got. It doesn't even care about the tone, it cares about the tuning if it's made correctly.
That's why it always works (if not always, then 99% of the time).

6) So again, I'm not bashing your post, I just don't believe everything I read or a one size fits all format. I also certainly don't believe in autotune programs. Hell, I can't sing for shit but I'd still never use an autotune.

I highly respect your opinion. But for a guy like me that love modern production like the "A Perfect Circle" band, I'll use some of it. Of course I'll fix it at the source though.

7) You did ask for thoughts in the comments, I gave mine.

I 've got no problem with your thoughts, I have a problem with the attitude that entered the post and made me lose some respect for you, before even getting the chance to meet you:

--> Melodyne on a bass <--​

 

[j.harv]

Actually, Melodyne does rhythm correction as well. Might not be so bad to really lock in your bass with the kick and snare. I'm a little tempo-challenged, and I could see myself using Melodyne to tighten up my lacking bass parts. Especially when latency works against my timing even when I'm having a good day.

And this is why recorded music today lacks soul and feel. Lets just let the computer do it for us

 

[Paschalis I.]

And this is why recorded music today lacks soul and feel. Lets just let the computer do it for us

The reason why music lacks soul and feel today is because it's hard to find composers with soul and feel. It has nothing to do with the computers.

Go on record a band and don't use any computer tricks. Will the song magically gain soul and feel just because you haven't used computer tricks? No.
The song will still be soulless. The difference will be that it will also suffer from time issues making it even worse.

It's primarily an artist flaw and then a computer flaw.

 

[j.harv]

The reason why music lacks soul and feel today is because it's hard to find composers with soul and feel. It has nothing to do with the computers.

Go on record a band and don't use any computer tricks. Will the song magically gain soul and feel just because you haven't used computer tricks? No.
The song will still be soulless. The difference will be that it will also suffer from time issues making it even worse.

It's primarily an artist flaw and then a computer flaw.

I know what you're saying....Im just going back in time. When bands didn't have the choice to quantize,correct,align etc... They had to put in a great performance.....to tape....Done! You throw any well known pop artist who's in the charts right now into the studio.....well lets just say they're not doing all the hard work....As for you saying "Go on record a band and don't use any computer tricks.Will the song magically gain soul and feel..."
No it won't, but I'd rather hear all the warts and the actual human feel than have a program/plug in correct it. It seems everything has to be so mechanically perfect.Even with great talented artists,the production can be a bit overkill.

 

[Paschalis I.]

I know what you're saying....Im just going back in time. When bands didn't have the choice to quantize,correct,align etc... They had to put in a great performance.....to tape....Done! You throw any well known pop artist who's in the charts right now into the studio.....well lets just say they're not doing all the hard work....As for you saying "Go on record a band and don't use any computer tricks.Will the song magically gain soul and feel..."
No it won't, but I'd rather hear all the warts and the actual human feel than have a program/plug in correct it. It seems everything has to be so mechanically perfect.Even with great talented artists,the production can be a bit overkill.

Can't agree more my friend!

In metal songs well it's almost logical to use some computer tricks.
Our brains got used to polished metal songs that only if you don't use any of the tricks, it' ll sound strange haha.
So for metal, I prefer to use some tricks.

But for rock and slower paced songs yeah... I can't get used to it.

Since it's a ballad or a smoother song or something like AC/DC (not really heavy as death metal) I prefer the song to have some human feeling in it.